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Grateful Dead Live at Shoreline Amphitheatre on 1989-06-21

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Grateful Dead Live at Shoreline Amphitheatre on 1989-06-21




Set 1

Jam
Hide Away
Touch Of Grey
New Minglewood Blues
Ramble On Rose
Box Of Rain
Dire Wolf
When I Paint My Masterpiece
Row Jimmy
Cassidy
Deal

Set 2

Scarlet Begonias ->
Hell In A Bucket
Ship Of Fools
Estimated Prophet ->
Eyes Of The World ->
Drums ->
Space ->
Truckin' ->
The Other One ->
Morning Dew (,) ~ Turn On Your Lovelight

Encore
Brokedown Palace


Collection GratefulDead
Band/Artist Grateful Dead
Venue Shoreline Amphitheatre
Location Mountain View, CA

Source SBD -> Cassette Master (TDK MA-XG90) D D
Lineage Cassette Master (Tascam 122mkII) -> Apogee MiniMe (24bit/48k) ->
Transferred by Charlie Miller

Notes

Patch Info:
Pay Per View Broadcast (shnid=16888) supplies:
When I Paint My Masterpiece (0:06 - 0:15)
Drums (1:05 - 3:07)
Turn On Your Lovelight (0:00 - 0:08)

Notes:
-- 2nd Set is seamless
-- Thanks to Paul Scotton and Joani Walker for the tapes
-- Bob Weir has lots of gear issues causing static in the 1st Set
-- Most of 2nd Set with Clarence Clemons on Saxophone
-- This has a different mix than the pay per view broadcast

comment
Reviews

Reviewer: Mind Wondrin - favoritefavoritefavoritefavorite - December 1, 2015
Subject: Commune with the gods of solstice

It's often said the band blew the gigs of historical import, yet here's a show of mini-history (a pay-per-view event, FM-network simulcast, & religious day for some) where they played well. In fact, this almost 3-1/2 hour show (4 hours, in person) is one of the best shows of '89. After a poor 1st show of the run, a much better show, then a day off, they came back strong.

First Set. After tuning and some amp problems, they decide to jam on the tuning riff, Freddie King's Hide Away. I don't know how many times this happened. The rest is above average except for a near-trainwreck in Touch and a weaker Cassidy. Brent is especially strong and the Minglewood and the Deal are both top-5 for '89.

Second Set. One of the best 2nd sets of '89, perhaps due to having Clarence Clemons on stage. He doesn't really add that much, just some color, but seems to animate the boys. Scarlet might be the best of '89 (and was the first I saw not going into Fire). Hell in a Bucket is even better. A super-tempo version, it wails. A little sax for Ship of Fools really seems to inspire Jer. Estimated is the weak point of the set, though still not below average (this was when Bobby was shouting the verses instead of singing). They leave room for The Big Man but he doesn't take much. I'm not a real Springsteen fan but the guy blew great sax and he gives more to a really good Eyes of the World (perhaps you can view it as a foreshadowing of 3/29/90 w/Marsalis). Drums peaked in this era and, though they rarely get props, I still remember this was one of the best I ever saw until Vegas '91. Jerry was playing a Strat for Space in much of '89. The rest is above average with Clemons taking the solo for the encore.

1st Set:  C+
2nd Set: B+
Overall = 3 1/2 stars

Highlights:
Minglewood Blues - Brent's great
Deal - Jer seems pleased with himself - to our benefit
Scarlet - Brent's just having a good night
Hell in a Bucket - RIYL uptempo versions
Drums - Not very often given an A+
Truckin' - A solid version with a little sax from the Big Man

The venue was new at the time and I hadn't been to it before this run. During the show-less day before we (and a hundred fellow Deadheads) rode the coasters at Great America with no prescience that we were at the future site of the stadium for the Fare Thee Well-50 shows. A non-Deadhead friend had moved to [just a few miles away] so it was natural to drag him down the street to the Solstice show. He knew little about the band (other than the fact that I was likely to drive for a couple days to see this weird little one-hit-wonder pop group that had the vid on MTV) and had horrible taste in music (IIRC, his faves: Gloria Estefan and Paula Abdul). We couldn't impress the urgency of prompt attendance and ended up high on the lawn (after other friends stopped holding out seats down low as they had done the previous days). Pie-eyed (oh yeah, we fucking dosed him), he was garrulously animated about his newly discovered wonders of the universe. Just not getting it, during every verse he'd say, "Oh, the Garcia guy is singing again," and he'd pay attention. Then, during each solo he'd go back to loquacious internal discovery. Then, "Oh, look they're singing again," and he'd pipe down and listen, ignoring those "long instrumental songs in-between that they keep playing". A Springsteen fan, he was blown away when Clemons came out and kept asking, "But is it really him? But I mean, like, really?". Only by the end was he starting to grab a handle. By then he was chuffed and seemed to have been positively influenced. Ultimately, it didn't take, and he seemed to forget about it over the following months. He met and married a beautiful but narrowly conservative and sanctimonious woman and turned his back on the bus and any vaguely bus-related elements in life, lasted a couple decades, then offed himself. Weirdness without turning pro. So as not to leave sour: good show though!

SOURCES: Everybody had the FM version and the PPV is on Youtube. The former was fine-sounding and the latter was very compressed but this walker-scotton-miller finally offers a version that really reveals the fine playing in this show.
Reviewer: raynwaters - favoritefavoritefavoritefavorite - October 13, 2010
Subject: Summer solstice 89
6 year old daughters first show. She called the opener like a pro.

all in all a great homefield show.

nice vibe
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